Olivia Wilde, Mark Duplass, Evan Peters, Donald Glover, Sarah Bolger
A group of scientists are working on a serum that, combined with the right stimuli, can bring someone back from the dead. Their argument for creating this is that it would enable doctors to have a little more time to find a cure for whatever is ailing someone. That is a terrible, terrible idea, and the rationale for the idea is even worse. But here’s the worst part: “The Lazarus Effect” actually has some interesting bits mixed in with all of the stupid ones, and the ending is kind of fantastic. To get there, though, we have to slog through a bunch of home video and security camera footage (this looks like it started life as a found footage movie, which makes sense considering the film’s producers also worked on the “Paranormal Activity” films) and an ungodly number of faulty light fixtures. The only thing it was missing was a cat.
Frank (Mark Duplass), his fiancé Zoe (Olivia Wilde), and their assistants Clay (Evan Peters) and Neko (Donald Glover), are working in a basement lab at a school in Berkeley to perfect their Lazarus serum. They bring in student Eva (Sarah Bolger) to document their work on video. They test the process on a dog, and it works, though the dog doesn’t really act like a dog once alive, and there are numerous medical red flags that suggest the dog could become extremely aggressive at any moment. Soon after their success in resurrecting someone, which is only known to those five, the lab is raided by a pharmaceutical company that, according to the terms of the grant that was funding Frank and Zoe’s research, owns all intellectual property in the event the terms of the grant are broken, which happened once they started testing on animals.
Steve Carell, Steve Buscemi, Olivia
Wilde, Jim Carrey, James Gandolfini
In a nutshell, “The Incredible Burt Wonderstone” is “Talladega Nights: The Ballad of Ricky Bobby” with magicians, but whatever your feelings may be about “Talladega Nights” (this writer, for one, was not impressed), keep in mind that that description serves solely as a comparison to the story structure. Each features an underdog becoming wildly successful at his craft, only to turn ridiculously spoiled and contemptuous, and then losing everything he ever held dear. The big difference is that the jokes in “Talladega Nights” are born from abuse, while “Burt Wonderstone” takes the high road. Well, for the most part.
Burt Wonderstone (Steve Carell) and Anton Marvelton (Steve Buscemi) have been doing magic tricks together since they were kids, and 30 years after they first met, they have become a premiere act in Las Vegas. Unfortunately, they can’t stand each other anymore, and their box office is starting to wane due to both their lack of chemistry on stage and the fact that they haven’t changed their act (or clothes) in 10 years. The duo is also feeling the heat from Steve Gray (Jim Carrey), a self-mutilating street magician who’s attracting the younger audience that Burt and Anton’s employer Doug Munny (James Gandolfini) desperately covets. After an attempt at an image makeover goes horribly wrong, Burt and Anton split up. Doug then shuts down their show, after which Burt quickly finds himself on skid row, but he finds redemption in the form of the person who inspired him to choose his path in the first place.
Those with a soft spot for Australian soap operas may forever think of Melissa George as Angel from “Home and Away,” but they’re doing both her and themselves a disservice by maintaining that mindset, because George has handily proven over and over again that she’s a far cry from being just another soap opera actress, be it by her Golden Globe nominated performance on HBO’s “In Treatment,” her work with David Lynch (“Mulholland Drive”) and Steven Soderbergh (“The Limey”), or her despicable turn as Lauren Reed on ABC’s “Alias.” With her latest small-screen endeavor, Cinemax’s “Hunted,” George is returning to the spy side of things, but trust Bullz-Eye when we tell you that “Hunted” is on a completely different level of television than “Alias.” We talked to her in conjunction with the series’ premiere – 10 PM tonight and every Friday night for the next several weeks – while also quizzing her about a few other past endeavors, including working with Heath Ledger on “Roar,” getting the shaft on “Grey’s Anatomy,” and just barely missing out on being part of one of the most notorious sitcom flops in NBC history.
Bullz-Eye: To begin at the beginning, how did you find your way into “Hunted”? Was it an audition situation, or did they come looking for you specifically?
Melissa George: They were very strict about making people read. Some jobs, not so much, they know who they want. But “Hunted” is (being produced by) HBO and BBC together, and they were both having to choose and decide, so we had the English with the Americans, so that’s why the audition process was so long.
I was walking on the West Side Highway in New York, and my phone rang. It was my agent saying, “I’ve just read the most dynamic role for a woman, it’s as complex as what you played on ‘In Treatment,’ with a bit of action, which you’ve done before. It’s shooting in Europe, it’s really good, it’s written by Frank Spotnitz, it’s an English and American production…you’ve got to get it.” That’s kind of what he said. And I hate when they say that, ‘cause that means no sleep for me. Because, y’know, of course if it’s that great I want to play it. And I was then shooting a movie with Julia Stiles in Los Angeles (“Between Us”) and I was busy with that, and I had a video camera set up in the hotel room, and I put together a scene. They asked me to do three scenes, but I just did one. It was the one where she confronts her ex in the apartment. Very emotional. And I remember I was just so choked up…and I was recording myself, not speaking to anybody, because I didn’t have an actor reading with me. And I was, like, “Oh, my God, I really love this part…” And I cut, printed, and sent it. I couldn’t do any more scenes because I was really upset. I felt really strongly about this woman. And I waited. I didn’t care, because I was shooting a movie.
Then I got a call saying, “They want you to meet with Frank and read a scene.” I was, like, “Oh, my God…” There were so many freaking people in this room. [Laughs.] So many people! I thought it was just going to be me. Every actor thinks that when you’re asked to read, it’s just gonna be you. But it was a lot of people, and I was on my own. But I met Frank, and he said to me later on, once I’d gotten the role, that he knew from when I put myself on tape, and when I went in to read, he said, “I just feel really connected to her.” But that was it. I didn’t hear for awhile after that, so I was, like, “Ugh, this is gonna be one of those jobs…” And then S.J. (Clarkson), who’s directing, got onboard, and…the director has a big say, so Frank’s got his choice made, BBC and HBO made theirs, but now I have to wait for S.J. to make hers. So I had to meet her. They fly me from New York to L.A. to have lunch, and all we do is talk about film, and then…I was the only girl, but I had to read with lots of guys. And none of the guys I read with got it. [Laughs.] But I was the only girl they were using, and yet still hadn’t told me that I’d got it! And I was, like, “What’s going on here?”
But I was so convinced that I was onboard that I went around convincing everyone else around me that I was. I was, like, “Oh, yeah, I’m gonna be playing this role in a few months…” But I hadn’t heard anything, and I was going, “This is ridiculous! They’re going all over the world looking for this actress, every single country, and I’m, like, “Well, does she have to be from a particular place?” “No, they don’t care where she’s from, because she has to play so many nationalities, so many different languages and accents.” So I waited while they went around the globe, reading hundreds of girls, and they were losing me, because I was going, “Well, if they wait too long…” And then finally everyone was, like, “C’mon, S.J.!” So that’s the story. And it was so funny on set, because while we were filming in Morocco, S.J. would come up to me and speak French, then she’d say, “Oh, sorry, wrong actress.” Like she’d found a girl in France that she really liked. I was, like, “Shut up, I know you didn’t find anybody!” [Laughs.] It was one of those things where the joke went on forever. Like, the whole season of the show. “Sorry, what’s your name?” So I don’t quite know what happened that made it take so long to decide, but I know that when I seize on something, man, I’d better get the job. Because I was honestly delusional. I was, like, “Yes, I’m shooting London in a few months,” and everyone was, like, “But have they said ‘yes’?” “No. But I’m going to be shooting!”
Check out this incredibly sexy video of Olivia Wilde provided courtesy of Flaunt Magazine and presented by Diesel. This visually stunning video was shot at the Bright White Underground Exhibit and directed by Yutsai, and it features a moving depiction of the amazing photo shoot of Olivia that was taken for Flaunt Issue 112.